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清代前期的書法以帖學爲主,書法主要受到趙孟頫、董其昌書風的影響。康熙皇帝十分鍾愛董其昌的書法,乾隆皇帝又對趙孟頫的書法大加讚揚,這使得帖學在清代前、中期發展到了極致。但物極必反,由於帖學的氾濫,這一時期一些富有創新精神的書法家如傅山、鄭燮、石濤等人看到了帖學的弊病,他們積極打破傳統的審美觀念,在碑學上進行了初步的探索。乾嘉時期,由於此時大興文字獄、思想十分僵化,大批文人爲逃避政治和現實,轉向考證和古代典籍的研究,
In the early Qing Dynasty calligraphy was mainly based on the calligraphy, calligraphy mainly by Zhao Mengfu, Dong Qichang’s book style. Emperor Kangxi tended to love Dong Qichang’s calligraphy. Emperor Qianlong applauded Zhao Mengfu’s calligraphy. This made the postgraduate study reach its peak in the middle and before the Qing Dynasty. However, due to the proliferation of calligraphy, some innovative calligraphers such as Fu Shan, Zheng Xie and Shi Tao in this period saw the shortcoming of calligraphy. They actively broke the traditional aesthetic conception and carried out Preliminary exploration. During the period of Qianjia and Kashgar, due to the fact that Daxing literary jail and thinking were very rigid at that time, a large number of literati turned to research on texts and ancient books to evade politics and reality,